In the work of Julio Romero de Torres we can find a relationship with Catalan and Parisian Modernism at the end of the century, with the posters of Toulouse Lautrec or Ramón Casas that advertised variety events and consumer products. Effluvia that become evident in the series of posters he made for the Nuestra Señora de la Salud fair in Córdoba and in the commissions for Bodegas Cruz Conde and the Unión de Explosivos de Ríotinto.

This Poster from the Córdoba fair of 1912 marks the painter’s consolidation in this genre, although Fuensanta García de la Torre points out the existence of others as early as 1896. The composition is divided into three spaces. The lower one has an empty strip with the city’s coat of arms reserved for the label, where “Córdoba 1012” is indicated. The second shows in the foreground, in what appears to be a balcony, a female figure of sculptural stature with an embroidered dress that replicates the pluvial cape of San Eloy that appears in the Virgen de los Plateros by Valdés Leal (Museum of Fine Arts of Córdoba, 1654). And the third, the reserved one at the back, following a perspective typical of the Italian Renaissance, appears a personal interpretation of Córdoba, in which the Torre de la Calahorra, the Roman bridge, the Triumph of San Rafael by Miguel Verdiguier and some games are identified. equestrian